|
Top 3 votes are our April movies. This poll is closed. |
|||
|---|---|---|---|
| Ocean Waves |
|
6 | 5.83% |
| Tokyo Godfathers |
|
23 | 22.33% |
| My Sister Momoka |
|
4 | 3.88% |
| Garden of Words |
|
6 | 5.83% |
| Short Peace |
|
2 | 1.94% |
| Interstella 5555: The 5tory of the 5ecret 5tar 5ystem |
|
17 | 16.50% |
| Patema Imverted |
|
6 | 5.83% |
| Yoyo and Nene |
|
3 | 2.91% |
| the Little Witch Sisters |
|
3 | 2.91% |
| The Tale of the Princess Kaguya |
|
10 | 9.71% |
| Sailor Moon R |
|
11 | 10.68% |
| Dragon Ball Super: Battle of the Gods |
|
12 | 11.65% |
| Total: | 45 votes | ||
|
Endorph posted:
The Colosseum arc is actually in both anime, which makes it interesting as a comparison. In the original anime, things are changed from the novel to flesh out the city, and to make us feel that Kino's decision was morally fair. She makes her final decision to protect the innocent and punish the guilty. In the novel and the second anime, by contrast, it's an act of pure spite. Kino's pissed about being sent into a trap, and takes her revenge on everyone remotely involved, then kind of kicked herself in a subdued way about how taking revenge revenge was dumb, and also how she'd basically got played to set up this whole thing. Original Anime Kino was often presented as a "normal" figure in comparison to the strange places she visited, but novel and new anime Kino is more shaped by circumstances to be as strange as her world. 2003 Kino's supposed to be the hero, so her more questionable actions feel odd. Meanwhile, 2017 Kino is weird (her backstory episode comes much later) so her doing morally shady stuff is just "Yep. Kino would do that, wouldn't she?" (Also, fun fact. One of the VAs in the final episode would go on to voice Kino in the remake series.)
|
#
¿
Mar 30, 2023 09:08
|
|
|
|
| # ¿ May 12, 2024 01:25 |
|
|
Clarste posted:I wouldn't say 2003 Kino was "normal." Maybe I'm remembering wrong, but as I recall she had this strict code of conduct forcing her to be as detached and nonjudgmental as humanly possible, usually acting only in self-defense. Being such an impassive observer to such extreme circumstances is hardly normal. I didn't mean she was normal, as much as that the show presented her as (relatively) normal. She's still the same character as in the books or later show from her actions most of the time, but the presentation puts more emphasis on how Kino's positions line up with the viewer against the world, and less on where the viewer would conflict with Kino as compared to other versions of the story.
|
|
#
¿
Mar 30, 2023 10:57
|
|
|
DNE posted:I liked the Colosseum arc a lot, because like - in that kind of story, you're expecting it to be some sort of neat poetic justice, some final resolution to it, and instead she just decides to drat the whole place. The one time Kino decides to intervene, and she does it as messily as possible. As I said, the 2003 anime did a lot to soften Kino's approach to the Colosseum. We both saw more of the innocents suffering, and had Kino do more to make it some kind of heroic societal reform (through bloodshed) rather than "gently caress all y'all". Another point of comparison with 2017's setup is that it had a... less tragic world? A less broken one? In 2003, almost every country Kino went to was doomed, mad, or both. (The land of wizards episode is a bit of an exception, in addition to being another time Kino intervenes, but I'll set it aside for now to simplify my thoughts). The world was beautiful, but also tragic. Kino is a traveler by nature, but until the end, it almost seems to come easy, since there's nowhere that feels like it could be a home. 2017's structure, meanwhile, has a city where Kino could, if she chose, retire and live happily very early on, but that episode also puts more emphasis on the theme it plays with through the episode ordering, where Kino's nature is more of a question presented to the viewer. We see her at the Colosseum, we see her treated as a peer by very dangerous people, and we see other travelers take their own approaches to the world that differ from Kino's. It's not as strong a throughline, but by moving the explanation for Kino's history to near the end, and moving other stories earlier, it presents Kino as a question to be answered, rather than as our traveling companion and anchor of relative normalcy in the titular journeys.
|
|
#
¿
Mar 31, 2023 22:15
|
|